[154] By Wieseler and others.
[155] Haigh³, pp. 165-74.
[156] ἀναβαίνω: Knights, 148; Acharnians, 732; Wasps, 1342.
[157] καταβαίνω: Eccles. 1151; Wasps, 1514.
[158] Euripides, Ion, 727, Electra, 4 sq., Herc. Fur. 119. As Haigh (3rd ed., p. 167) points out, “in the last passage it is the chorus which makes the complaint; so that in this case, if there was any visible ascent, it cannot have been the ascent to the stage”.
[159] This is a strong and favourite argument for the stage; when Haigh (3rd ed., p. 168) denies this because “a sufficient reason is ... the fact that, if they had gone into the palace, the scene of action would have been left empty for the time being,” he forgets that such a departure of the chorus is quite possible. It occurs in Eumenides, Ajax, Alcestis, and Helena, not to mention Comedy.
[160] Haigh³, p. 170 sq.
[161] Symposium, 194 B.
[162] Ars Poetica, 278: Æschylus et modicis instravit pulpita tignis.
[163] Das Gr. Theater, p. 350.